REVIEWS

/ BARBARA CASAVECCHIA
57th Venice Biennale “Viva Arte Viva”

57TH VENICE BIENNALE, Venice

View of Charles Atlas, The Tyranny of Consciousness, 2017.
by

Barbara Casavecchia

“Viva Arte Viva” is a tautological title. Since a tautological statement is one that is necessarily true on the basis of its circular syntactical structure, it’s logical to assume that Christine Macel, the curator of the 57th Venice Biennale, is asking us to believe that art is alive, and/or that... continue reading
Will Benedict’s “The Social Democrat” and “Fiction Is a Terrible Enemy”

GIó MARCONI AND FONDAZIONE GIULIANI, Milan and Rome

View of Will Benedict’s “The Social Democrat,” Giò Marconi, Milan, 2017.
by

Barbara Casavecchia

It was only a couple of days after the opening, while sitting in the audience of a lecture by Italian playwright Romeo Castellucci at Teatro dell’Arte in Milan, that Will Benedict’s “The Social Democrat” at Giò Marconi really clicked in my head. Call it synchronicity. Castellucci delivered his speech, titled... continue reading
Biennale de l’Image en Mouvement 2016

VARIOUS LOCATIONS, Geneva

Pauline Boudry and Renate Lorenz, Silent, 2016.
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Barbara Casavecchia

“Dear President, / Your profile is vague, / You have no arms, no hair, no legs, and no sex / Your enemy is your lover. / I need make-up, underwear and hormones! / Dear visitor, / Are you optimistic, / When our country is at war? / Is freedom more... continue reading
View of Cécile B. Evans, “Working on What the Heart Wants,” Lira Gallery, Rome, 2016.
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Barbara Casavecchia

– Thank you for the kind words – – And thank you for the bonus This telling fragment of chat, extracted from Cécile B. Evans’s Working on What the Heart Wants (2016), informed my experience of this multichannel video installation, which records a group of humans interacting with and through... continue reading
Riga Roundup

VARIOUS LOCATIONS, Riga

View of ”Lost in the Archive,” Latvian Centre for Contemporary Art, Riga, 2016.
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Barbara Casavecchia

A man goes back and forth, slowly, silently, carefully balancing framed paintings and works on paper. He transports them from a pile perched atop a canyon to a Mondrianesque storage grid positioned on another peak nearby. From beginning to end, he walks on a tightrope. Shot against the spectacular background... continue reading
Tomaso Binga, Ti scrivo solo di domenica (detail), 1977.
by

Barbara Casavecchia

“My dear friend, I write you on domenica [Sunday], because it’s the only feminine day of the week.”(1) “My dear friend, solitude or company?” “My dear friend, tonight I danced salsa forever.” “My dear friend, I hate the static nature of electric lights.” “My dear friend, I prefer daisies.” “My... continue reading

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ARTIST

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Luisa Strina
The Third Line
Camera Austria
Afterimage
Sprueth Magers
Anton Kern Gallery
e-flux iPad
art-agenda
GALLERIA MASSIMODELUCA
Cardi Black Box
Xavier Hufkens
P420
Magazine Mousse